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Full text of "King color rules the home / [by C.D. Holley, and Associations, Acme Quality Color Division, in cooperation with Nancy McClelland ... and Parker Morse Hooper]."

Btng Color £utrs tl]t fTome 




l\uIc$tkl)oniF 



tEfjtsi boob i& bebicateb to tfjat artistry of autbentic 
becoration by tofjicfj a ijoufiie truly becomes; a bonte, 
rabiating fjarmony anb cfjecrfulnesig tDttf>tn anb 
toitbout, anb sincerely reflecting tbe personality of 



tbose it abaters. 



H\)t gutbors 









acme TOfjtte Heao & Color Morfes 

"Clje S?ouse of Color" 

Sbmimatration <&ti\tti> Betroit, iHitfj., H. S>. 9. 

JSranefycs in principal (Cities 



Sealer ^>erbtce Stations € bcrptofjere 







Copyright 1928 

ACME WHITE LEAD &. COLOR WORKS 

DETROIT 






J rintrcl in I . S. A. 



KING COLOR 
RULES THE HOME 



w 



by Dr. C. D. Holley, and Associates, Acme Quality Color Division, in 

collaboration with T^lancy McClelland, the well \nown Interior Decorator , 

and Par\er Morse Hooper, Editor of The Architectural Forum. 



^ 



USKIN said: "We cannot arrest 
sunsets nor carve mountains, 
but we may turn every home, if we 
choose, into a picture which will be no 
counterfeit, but the true and perfect 



image 



of lif 



e liiuee 



leed. 



ft 



Nature always has known her colors. 
And what a myriad of brilliant har- 
monies she presents to cheer the tired 
eye and a prosaic world! Always in 
tune. Never a false note. Every color 
true and authentic. Each shade, tone 
and tint used with infallible certitude. 

So, in this great Age of Color which has 
swept the world like a gloniied rainbow, 
the great question is "How can I know 
my colors?" — a question that assumes 



in home decoration is to be sadly out of 
tune with the times. Colors for the home 
must be selected not only for their own 
intrinsic beauty and worth, but for their 
lasting effect on people both outside and 
inside the home. To choose colors un- 
wisely is to invite not only unfavorable 
criticism but added expense through 
decoration which must be done over. 
And in the meantime you must live with 
your mistakes. 

While there are but a \ 



r ery fe 



w princi- 



pal colors, these are interspersed with a 
myriad fine gradations whose exact dif- 



ference 



f 



th 



one irom anotner is as mar 



ked 



as that between the main colors them- 
selves. 

The selection of colors that are correct, 



out. 



King Color rules 



momentous import when applied to the 

problem of home decoration inside and authentic, authoritative, covers many 

things: First of all there must be 
beauty. That is important. But with 
beauty there must be durability. That 
is imperative. One cannot be correct 
with cheap, inferior paint products that 
smile today and frown tomorrow. As 
the home has a personality, as rooms 
have a personality, so should the colors 
have a personality- And there can 
be no true personality in that which 



the home. And his 
reign will be long. History shows that 

d 



f col 



ot color 



h 



ave 



not 



successive periods 

been vogues of a passing moment. Each 
color period has endured for many 
years. And the color fashion of today 
bids fair to take its place as the greatest 
color period of all. It is undoubtedly 
here to stay beyond the recollection of 
the present generation. 



continuously undergoes 



detri 



rimen 



tal 



change. Color, like character, should 



People are color alert, color wise, color be constant, since its importance is per- 

sophisticated. Not to know one's colors manent, and wise selection is necessary. 



5 



'. 



So, the study of color, as in many other 
realms of art and industry, has become 
a pronounced science. Forty years of 
experimentation in the creation and de- 
velopment of authoritative, durable 
colors in Acme Quality laboratories has 
given to the home owner today the 

expert 

ardently sought by color technicians 

of yesterday. 

It is comforting to know, for example, 
what colors to use for the outside of the 
home. What marked and pleasing con- 
trasts may be had in the mere change ot 



and practical knowledge 



signs shown is by a leading architect. 
The interior decorative schemes are 
equally authoritative. As the colored 
illustrations and printed descriptions 
show, this is a correct guide to authori- 
tative home beauty. But with this 
added thought: 

That beauty itself is not all. That with 
beauty there must be durability. For a 
color scheme is like music— one jarring 
note, and all is discord. Which gets us 
back to what has already been said — 
that only quality colors can be authori- 
tative, only authoritative colors can be 



a tone here or there. What for the roof. correct, only correct colors can be en- 

The trim. Casements. Porches. during, only enduring colors can be 



truly harmonious. 

With Acme Quality Colors one is bound 
to be right in correct color selection. 
Each color is mixed after over 40 
years' experience. Each has its prede- 
termined place in the great Color 
Scheme. And each is made with 
highest quality ingredients to with- 
It is with these very questions in mind stand the ravages of wear and the great 



And, above all, what colors to use in- 
side, where King Color particularly 
holds sway. What for the dining room. 
Living room. Halls. What for ceilings. 
Woodwork. Floors. How to be daring, 
yet artistic. Distinctive, yet in good 
taste. 



that this book has been prepared for the 
home owner who wishes to be correct 
and above criticism in color selection. 
Each of the exterior and interior de- 



test of Time itself. It is important , there- 
fore, to specify Acme Quality for that 
durable home beauty which means so 
much to the home owner's satisfaction. 



./ copy of this book may be had 
for 35^ in stamps, — less than 
printing cost , —by addressing 
Acme White Lead e3 Color 
Works, Dept. B, Detroit, Mich. 



6 



ACKNOWLEDGMENT 




a 



HE fine spirit oi cooperation! which is alwaj evidenced whenever 

nous effort is made to promote a wider public appreciation oi 



■ood architecture and good decoration, has made possible tins ! ok. 

It is therefore fitting; that the Acme White Lead &' C r Work 

t knowledge here their appreciation oi the generous interest in this 

effort by the following eminent architects who not only have per- 
mitted the use of residences designed by them hut have likewise 

assisted in the development of the color schemes shown: 



Phelps H \km m 
Robert I >erri i 

Tin s 1 1 I i i i | r 
Aymak Embi 1 1 

I'Y J F< 'i'stiu 

Leigh Fr* m h, Ji< 



I I li. ( r I I < URISI 

R. ( II 8 Bro, 

I loWAKi) M \)Olf 

Pi . Wii BON & Buov 

( , F, Ri i , i» 

Russf i j S Wai >i t 



These gentlemen j no less than Miss McClelland, Mr. Hooper a nil I )i 

I lul ley, who a< tuallv arran i the material in book form, have placed 
in their debt home owners throughout the country who will Imd 
this volume rich in suggestion and in inspiration i a practical kind. 



VOTE, — The colore rhown in this I i are tn oil i on 

color* in the t ' (ity tine. Under each i/lusirnt i /// far 

have i n identified so Ihoi \ may an \ u r painter ../>. 

what to use in duplicate / any oj the scheme* eke ll th / b 

appreciated \ how tat the lim >'»•• oj pnnttng do not permit 

us to reproduce with absolute integrity the beauty and wonderful 

finish oj . I nw Q The h. \nd r in tin 

■k can only approximate the I \utifut effects wh h wilt r tit 
from the ft of Acme Quality P& ni and Vat h Prod Is. 



7 




• 



Roof. Acme Quality Shingle Stain No. 7. Silver Gray; Walls. Acme Quality New Era House Paint, Outside While; Blinds, 

Acme Quality Durable Green, Medium 



8 



A COLONIAL FARMHOUSE 



R. C. HUNTER & BRO., ARCHITECTS 

In no field of architectural design has greater improvement been made 
than in the American country house. This fact is as true of small as of 
large houses. Due to this tremendous increase in the appreciation of 
well designed homes, and the subsequent use of the services of archi- 
tects who create these homes, many young architects have gained a 
wide and enviable practice in this particular field. Invariably, these 
architects of country houses have increasing opportunity to extend 
their field into other types of architectural design. This is true of the 
firm of R. C. Hunter & Bro. 9 who are among the best known archi- 
tects of country houses in the United States. Examples of their work 
cover ,a wide range of styles and a wide extent of territory, reaching 
from Maine to the Mississippi. All of their houses show refinement of 

I detail and freedom in stylistic expression. 




HIS firm is perhaps best known through 
its use of Colonial precedent, although 
today they are among the leaders in the pro- 
motion of the French and English farmhouse 
types. One of their attractive Colonial designs 
has been selected for inclusion in this group of 
outstanding country houses. The composition 
of the house and garage wing is well balanced 
and pleasing. An understanding of scale is 
shown throughout the design, as indicated by 
the repetition of arches of similar shape and 
size for the main entrance door, the openings 
of the covered porch and garage door. The red 
brick chimney at one end of the house forms 
an important and successful feature in the 
composition. The warm red bricks of this 
chimney make a satisfying color break between 
the white painted walls of the main house and 
the porch wing. The green blinds of the 
windows and the front door and porch open- 
ings, provide the contrasting color note always 
necessary on a white house. The living room is 
decorated and furnished in the Georgian style. 
Blue painted walls, printed linens in yellow 
and green make a pleasing color combination. 




The attractive use of color in the living room is 
repeated in the dining room, where the walls 
are painted a gray green, and chintz in mul- 
berry and white is used for the window cur- 
tains and chair coverings. Even the kitchen is 
modernized by 'the use of enamel ivory paint, 
with mouldings of the doors and cupboards 
picked out in gray green, repeating the same 
green tone found in the tile floor. Even the 
sink is modern green glazed porcelain. For the 
chairs and table, as well as the edges of the 
window curtains very rich deep red is used. 
In the largest of the several master's bedrooms 
the walls are painted in light yellow, relieved by 
the gray green of the window curtains and 
chair covering. Book shelves and cupboards 
fill up the space under the slight roof slope at 
one end of the room. This drawing clearly 
shows what excellent headroom and ceiling 
height is obtainable in a story and a half 
house where the roof is carried up to a reason- 
able height. One of the outstanding character- 
istics of the hundreds of country houses he has 
built is the beauty of their roof lines and their 
well spaced, well proportioned dormer windows . 







First Floor Plan 



Second Floor Plan 







C eiling. Acme Quality Kalsonune No. 77; Walls and Woodwork. Acme Quality No-Lustre Finish No. 53. Light Yellow 




Ceiling. Aline Quahu K also mine N .1; Walls and Woodwork me Quality Kalsomine No 



10 



^— 




Ceiling, Acme Quality Kalsomine No. 5o; Walls and Woodwork, Acme Quality Xu-Lustre Finish, First Coat, White, Second 

Coat. No. 57 Scumbled 




Ceiling, Walls and Woodwork, Acme Quality Enamel-Kote, Ivory; Mouldings. Acme Quality Enamd-Kote, Apple Green 

11 






WW* 










...i.Ac Quali- igle Stain N er Gray; Door and Blind*, A QpaJitj Dorabb << n. Medium; Corni 

Wood 1 n. Acme Quality N« I ra II Out '.'. bit* 



COUNTRY HOUSE IN THE GEORGIAN STYLE 



PHELPS BARNUM, ARCHITECT 

In many of the most attractive country houses built in the United 
States during the past 25 years, the EnglishGeorgian , or its American 
expression, the "Colonial" style, has been used. The balance, sym- 
metry and dignity of the English Renaissance were appropriate 
characteristics for the architectural expression of the civilization set 
up and developed in this country by our English ancestors. The 
houses were as formal, dignified and refined as were the descendants 
of the Puritans and the Cavaliers who originally founded and settled 
the north and south Atlantic states. Among the prominent younger 
architects who have been eminently successful in their use of Georgian 
Colonial architecture is Phelps Barnum, of New York. Graduating 
from Yale University and later from the Architectural School at 
Columbia University, this lalented architect continued his studies in 
France. Extensive travels through Europe further prepared him for 
the practice of his profession. After obtaining early experience in the 
office of John Russell Pope, he became a member of the well known 

New York J 1 rm of Cross & Cross. 




T is interesting to note the results when an 
architect as prominent as Mr. Barnum, 
who specializes in large office buildings and 

important residential work, undertakes to 

design a comparatively small house. (It is 

often said that leading architects are not anxi- 
to design small houses. This is really not 
the case. There is no problem in the entire 
an hitet tural field more interesting to the pro- 
fession or more important than the designing 
of the less pretentious homes. There <. an be no 

hope of development in the architectural taste 

and increase in the appreciation ol the general 
public until the quality of the American house 

is greatly Lmproi ed . Too many people feel that 
tin v cannot Iford to employ an architect). 



The exterior is constructed oi carefully S< 

lected brick made m Virginia. The color ol the 

brick is a golden red with much variation in 

tone. The wood trim is all painted dcepcream. 
On the interior all of the rooms are Colonial. 
The period of the dining morn is indicated by a 

beam ceilii . the unpancled low wainscoting 
and the archil tural treatment <>l the chnn- 

ne\ -piece, all of which are characteristic I the 

earlv American style. The color treatment is 
typically Colonial in charai U r. The walls are 
painted a shade ol light yellow which borders 
On the bull and the woodwork a deep cream 
color. The use of carclullv and well selected 

colors throughout this attractive house 1 >neoi 

its m t appealing chanu teristics and charms. 




t Floor i'lan 




cond Floor Plan 



13 




Doors. Ceiling Beams and Panels. Acme Quality Oil Wood Stain. Dark Oak: Plaster Wails, Acme Quality No-Lustre Finish 

No. 53. Light Yellow; Trim and Wainscot, Acme Quality No-Lustre Finish. \\ h.te 






- 






















Ceiling. Acme Quality Kalsomine No. 77\ Walls. Acme Quality No-Lustre Finish No. 56, Light Buff, Woodwork. 

Acme Quality No-Lustre Finish No. 7o. Light Ivory 



14 




Ceiling. Acme Quality Kalsomine No. 77; Paneled Walls and Trim. Acme Quality Oil Wood Stain, Light Oak 

Finished with Wax and Rubbed Down 




Ceiling, Acme Quality Kalsomine No 51; Walls. Acme Quality No-Lustre Finish No. 70. Light Green; Woodwork. Stair Rail 

and Trim. Acme Quality No-Lustre Finish No. 73. Light Ivory 

15 



* 












1 






5! 












RouJ Sli ingles. Acme Quality Shingle Stain. Silver Gray; Timber Work and Trim. Acme Quality Shingle Stain. Bungalow 

Brown; Stucco Work, Acme Quality Concrete Finish, BuiT 

16 



* 



AN AMERICAN HOUSE IN THE JACOBEAN STYLE 



GEORGE F. ROOT, 3RD, ARCHITECT 

Among the many success/id and well known younger architects in 
New York, Mr. Root ranks high. There is a conscientious con- 
sistency and conservative character in all of his work. Especially 
known as a country house architect, Mr. Root has well earned his 
reputation during the six years he has been in practice since he com- 
pleted his academic and architectural training. After graduating 
from Princeton University, three years were spent in the Archi- 
tectural School of Columbia University. This academic training was 
followed by travel and study in Europe, and six years spent in three 
of the foremost architectural offices in New York,— those of John 
Russell Pope, Delano & Aldrich and Benjamin Wistar Morris. 
This thorough and diversified training and office experience has well 
fitted Mr. Root for his professional career as an architect of country 

houses in many styles. 



THE house illustrated on the opposite page 
is one of many country houses of moder- 
ate size which Mr. Root has designed in vari- 
ous expressions of Tudor, Elizabethan and 
Jacobean architecture. He is particularly suc- 
cessful in using these types, as he possesses a 
thorough knowledge of the underlying princi- 
ples, understands the grouping and combination 
of bays and dormers of various sizes and types. 
His roof lines are invariably good, and his 
combination of such materials as stucco, 
brick, stone and half-timber are always con- 
sistently and attractively carried out. The 
example of Mr. Root's work shown here is 
probably located on a hillside above one of the 
lakes in Westchester County. The informal 
and picturesque character of the house is well 
suited and appropriate to its surroundings. 
Following the principle of good architecture, 
color, as should always be the case, is the im- 
portant factor in the interior decorations of this 
house. Green, vellow and brown are the three 







dominant colors in the living room. The walls 
are of soft golden yellow, almost as deep as 
yellow ochre, against which the warm brown 
of the woodwork contrasts pleasantly. English 
printed linens in green, relieved by Chinese 
red, repeat the darker green shades of the 
large rug. The rough plaster walls of the dinin 
room are painted blue with the rich brown of 
the stained oak woodwork and furniture and 
floor in sharp but pleasing contrast. The bed- 
rooms are particularly cheerful with their light 
painted walls and gay cretonnes and chintzes. 
Here strong tones of green, lavender, yellow 
and peach are successfully used. The interiors 
are consistently carried out in a simple adapta- 
tion of English architecture. Oak trim and 
book shelves in the living room and oak board 
paneling for the walls of the study give a suc- 
cessful interpretation of simple Jacobean in- 
teriors. Unfortunately, from so brief a descrip- 
tion, little realization can be obtained of the 
satisfactory liveableness of this English house. 






■ 




First Floor Plan 



Second Floor Plan 



17 




Ceiling, Acme Quality Kalsomine No. 56; Walls, Acme Quality No-Lustre Finish No. 67, Light Tan; Woodwork. Acme Quality 

Oil Wood Stain, Dark Oak 




Ceiling, Acme Quality Kalsomine, White; Walls, Acme Quality No-Lustre Finish No. 53, Light Yellow; 

Woodwork, Acme Quality Oil Wood Stain, Light Oak 

18 




Ceiling, Acme Quality Kalsomine No. 06; Paneling and Woodwork. Acme Quality Oil Wood Stain, Light Oak 




Ceiling, Acme Quality Kalsomine No. 51; Walls and Woodwork. Acme Quality Ns-Lustre Finish No. 70, Light Green 



19 




Roof, Acme Quality Shingle Slain No. 10. Bungalow Brown; Stucco Walls, Acme Quality Concrete Finish, Cream; Doors and 

Shutters, Acme Quality Durable Green, Medium 



20 



A COUNTRY HOUSE IN THE FRENCH STYLE 



PEABODY, WILSON & BROWN, ARCHITECTS 

Long Island and Westchester County in \~ew York State are greatly 
indebted to the firm of Peabody, Wilson & Brown for many most 
attractive country houses. Noted as this firm is for its work in this 
particular field of architectural design, it has also gained a wide 
reputation as designers of municipal and school buddings of various 
types. As graduates of leading American universities and archi- 
tectural schools, and the Ecole des Beaux Arts in Paris, the members 
of this firm have built up a wide and extensive practice among people 
of architectural appreciation and understanding. They have been 
unusually fortunate in their class of clients. An architect can do his 
best work only when he possesses the complete confidence, sympathy, 
and backing of his client. Too often the less appreciative type of client 
attempts to impose his own ideas and preferences upon his architect 
and interior decorator, regardless of how inconsistent and undesirable 

his ideas may be. 



TllR house illustrated on the opposite page 
is an excellent example of one of PeabocK , 
Wilson & Brown's smaller houses. It, however, 
well exemplifies their fine work. The walls are 
covered with a cream painted stucco relieved 
by the green shutters of the windows and 
entrance door and the green stained copper ol 
the rool gutters. Raised quoins at the corners 
and a raised belt course dividing the first and 
second stones emphasize the style ol the hoiu 
and suggest one type ol suburban French villa. 
The proportion of all the windows and their 
relation to the wall spaces between them is lint 
Nothing adds more dignity and spaciousness to 
a house than broad, unbroken wall spaces be- 
tween the window and door openings. As in all 
formal architecture, the window sol die second 
story are on an axis with those ol the first. In 
thi large living room at the end of the hall 
the walls and Woodwork are painted gray green. 
One ol the most attractive rooms is the study. 




The color scheme in this room is warm gray 
and rose red. I looked rugs in gay colors are 
scattered over the wide-board lloor, which is 
stained dark. As a decorative element in a 

room, dark rich floors are most effective, and 
greatly help to hold down and tie together the 
four walls and the furniture. Book icka with 
their varied shades also form an effei live color 
decoration. Tones of old parchment or laded 
morocco Lather, the color ol old book backs, 
are effective colors to use on the walls of a 
libra ry .The walls oi the dining room are a shade 

of yellowish bull and the window hangings 

Lind the chair seats are in azure blue. Nothing 
sets off mahogany lurniture better than buff, 
yellow or gray walls. Where lurniture in pine 
or maple is used such colors as lavendei 
green and blue are most effective lor the walls. 
It is not inappropriate in rooms of Renais- 
sance design to decorate them in any of tin- 
periods of Georgian or Colonial architecture 



i 




Fir-st Floor Plan 



Second Floor Plan 



21 










Ceiling, Acme Quality K also mine No. 51; Walls and Woodwork, Acme Quality No-Lustre Fiats!) No. 55, Light Yellow 



F 













iJing, Acme Quality KaUomiuc, White; Walls and Woodwork and Trim. Acme Quality No- Lustre Finish, 

First Coat White; Second Coat No. 66 Scumbled 






17 




Ceiling, Acme Quality Kalsomtne No. 70; Plaster Walls. Wood Mouldings and Trim, Acme Quality 

No-Lustre Finish No. 59, Green 








Ceiling, Acme Quality Kalsomine No. 51; Walls and Woodwork, Acme Quality No-Lustre Finish No. 17 and No. oO Mixed 



23 



i 



V 










Stucco Walls, Acme Quality Concrete Finish, Cream; Wood trim. Acme Quality New Era House Paint No. 8. French Gray 



24 



A COUNTRY HOUSE IN THE FRENCH STYLE 



LEIGH FRENCH, JR., ARCHITECT 



The designer of this delightful house, suggestive of the villas and 
smaller residences found at Versailles, and other Parisian suburbs, 
is one of the best known among the younger architects of New York 
City. After many years of study in this country and Europe 
Mr. French began the practice of his profession at the close of his 
service in the World War, ten years ago. In this short decade 
he has risen to a position of prominence as an architect of 
country houses and is recognized as an authority on French domestic 
architecture, both city and rural. His book on il The Smaller 
Houses and Gardens of Versailles" is considered indispensable to 
anyone who would understand the subtle charm and underlying prin- 
ciples which make these French houses so homelike and so artistic. 



OF the many different interesting types of 
European domestic architecture used as 
inspiration and precedent for the latest mode in 
American country house design no type is as 
inherently suitable and adaptable to our clim- 
ate and manner of living as the French pro- 
vincial house. To quote this eminent authority 
and architect, Mr. French says of this par- 
ticular house in the Provincial style which 
forms the subject of this present discussion, 
that although it is designed in a vein dis- 
tinctly reminiscent of the type of Norman 
country house so common in northern France, 
no attempt has been made to reproduce or 
adapt some specific original. Although no 
effort has been made to assemble a composi- 
tion by piecing and fitting together a collection 
of features and details borrowed from a variety 
of sources, yet the essential quality and charm 



of the type has been imparted to this house, 
which is American and not French in the 
arrangement of its plan, and is thoroughly 
suited to American conditions of living. In 
regard to plan, many a French example that 
is most alluring and artistic externally is 
not at all suited to American living require- 
ments, or modern conveniences and comfort. 
The smooth stucco over the tile is painted 
a light cream-yellow. All of the casement win- 
dows, and their frames are painted white, and 
the doors and shutters light green. Through- 
out the house much thought has been given to 
the color, which has been made to play its full 
part under the direction of the architect who 
selected and settled all of the colors as well 
as the interior furnishings and decorations. 
Usually the interior decorator decides, selects, 
and provides all of these important details. 




First Floor Plan 




econ 



(I Fl 



l J l 



nor I'jan 



25 



;- 




Ceiling, Acme Quality No-Lustre Finish No. 74 Pearl Gray; Woodwork, Acme Quality No-Lustre Finish No 

Walls, Acme Quality No-Lustre Finish No. 53, Light Yellow 



70, Light Green; 



' 










— ■ 







Ceiling, Acme Quality KaUouiine No. 53; Woodwork and Walls, Acme Quality No-Lustre Finish No. 74, Pearl Gray 



26 



i 




Ceiling, Acme Quality Kalsomine No. 77; Woodwork, Acme Quality No-Lustre Finish No. 66, Silver Gray 




Ceiling. Acme Quality No-Lustre Finish No. 74, Pearl Gray; Woodwork and Walls. Acme Quality No-Lustre Finish, first coat. 

No. 64 Pink, second coat. White Scumbled 



27 




Roof Acme Qual.iv Sliingle Stain No. 7, Silver Gray; Doors ami Trim, Acme Quality New Era House Paint No. 54. Tan Brown 



28 



THE FRENCH CHATEAU STYLE ADAPTED TO AN 

AMERICAN COUNTRY HOUSE 



EDMUND B. GILCHRIST, ARCHITECT 

Bom and brought up in Philadelphia, the son of the founder of the 
Philadelphia Orchestra^ Mr. Gilchrist is entirely it f>rwluit oj the 
Quaker City. I lis designs show great imagination, freedom oj 
expression and architectural distinction, It is cosy to recognize Mr. 
Gilchrist's work, as it has as much individuality in character and 

expression as has the work of all the yjcal artists and architects. 




N the case of this house in the French 

Chateau style, a local stone IS used as the 
medium ol architectural expression. The plan, 
which is L-shapeel, ami clearly expressed in the 

exterior design, seems to ramble up the lull In a 
pleasingly picturesque and haphazard Fashion. 

The main floor, on which a\c located the living 

room and dining room, is reached from the 

entrance \ cstdmle by three steps, ami the tim- 
ing room, which is on a still higher level, is 
three steps above the stair hall floor. The 
kitchen and the pantry aw on the same lex el 
\\ ith the din iny loom, hut the service entrance, 

onto the driveway, is several steps below tins 

level. An elliptical stairway located in (he 



■ orner tower connects the first with the second 

floor, where four bedrooms and three halhs 
for the use <A' ihe owner and his famiU are 
located, The house seems much larger than il 
is. A t the rear of I he house, in the angle lormed 

l>\ the main building and the long service 

wing, is an attracdve llower garden upon 
which open the casement windows ol all the 
principal rooms on the first and second lloors, 

as well as the covered porch around the small 

end Library, As is characteristic of all Mi 

Gilchrist's interior architecture , grea t care and 

excellent judgment have been shown m th< 

Selection o{ colors used in the principal rooms. 
Color gives interiors warmth and individual it v . 





In! I- I iuf Plan 



i ... I I I Kir I'lnii 



29 




Ceiling. V c me QuaK ta No-Lustre Finish No, 68, [vary] Woodwork ami Walls, Acme Quality No-Lustre Finish 

No, 53, Light Yellow 























i > 









i i 





Ceiling, Acme Quality Kalsomine No. 77, Cream; Woodwork and Walls, Acme Quality No-Lustre Finish, First Coat No- 64, 

Second Coat r White Scumbled 

• 30 







Ceiling, Acme Quality Kalsomine No. 51; Walls, Acme Quality No-Lustre Finish No. 74, Pearl Gray: Trim. Acme 

Quality Oil Wood Stain. Walnut 




Plaster Ceiling, Acme Quality Kalsomine No. 56; Wall Paneling. Acme Quality No-Lustre Finish. First Coat No 66, Second 

Coat Nos. 57 and 64. Equal Parts Scumbled; Ceiling Beams. Acme Quality Oil Wood Stain. Dark Oak 

31 










Walls, Acme Quality New Era House Paint, Outside White; Roofs and Trim. Acme Quality Shingle Slain. Rich Brown 



32 



COUNTRY HOUSE IN THE FRENCH PROVINCIAL STYLE 

FRANK J. FORSTER, ARCHITECT 

Among the many architects who specialize in the designing of 
American country houses, probably no one of them is better known 
than Mr. Forster. As was the case with the late Bertram G. Goodhue 
and with many of the leading architects of today, this talented young 
man was largely self-taught. He obtained his architectural training 
and appreciation through extensive and repeated travels through the 
British Isles and Europe, where he sketched and made measured 
drawings of architectural subjects. After several years spent in the 
offices of a number of different New York architects, Mr. Forster 
began practicing his profession independently. His work then as 
now was mainly in the English and French country house types. 



M 



R. FORSTER'S interest in English and 
French architecture arises from a reali- 
zation that both of these styles of country 
houses are eminently suited for use in America, 
and are perfectly adapted to our climate 
and countryside, and that they are, further- 
more, part of our direct racial inheritance. 
His country houses combine to a remarkable 
degree an appreciation of the picturesque and 
an understanding of composition and plan in 
architectural design. He has twice received 
recognition from the Architectural League of 
New York, first in 1927 when he was awarded 
the Silver Aledal in Architecture, and again 
in 1928 when he received Honorable Mention 
on account of this house in the Normandv 
style, a rendering of which appears on the 
opposite page. This design is included in this 
collection of country houses, because it is not 
only one of the best examples of Air. Forster's 
work in the French Provincial style but also 
because the plan is very convenient and prac- 
tical and the design is carried out with a 
strong feeling for composition and the pictur- 




esque. A large living room with buff painted 
plaster forms the main part of the house. At 
one end is located the dining room painted 
old rose, above which is a room and bath for 
two servants, while at the other end are two 
bedroom suites, one located on the first floor 
and one on the second. Part of the bedroom 
suite on the first floor is a hallway, which con- 
nects the living room with a covered porch, 
extending out onto the broad terrace in front 
of the house. Doors from both the living 
room and dining room open onto this paved 
court. A small gateway at one end opens 
onto the flight of steps which leads down to 
the entrance drive and garage courtyard. In 
the accompanying sketch of this house these 
steps are shown in the foreground with the 
dining room bay immediately above. In the 
background at the right of the high, two- 
story bedroom section of the house is the 
covered porch which opens onto the paved 
terrace. Located on a wooded hillside, the 
design of this house is admirably suited to its 
informal surroundings and location. 




First Floor Plan 



Second Floor Plan 



33 








Woodwork. Ceiling Beams and Panels, Acme Quality Oil Wood Stain. Dark Oak; Plaster Walls, Acme Quality No-Lustre 

Finish, Fir- L Coat No. 04. Second Coat. White Scumbled 








fe 



Ceiling, Acme Quality Kalsomine No. 77; Wood Trim. Acme Quality Oil Wood Slain, Walnut; Walls. Acme Quality Interior 

Gloss Finish No. 506, Medium Yellow 



34 



— 










-u 



Ceiling, Acme Quality Kalsomine No. 63; Walls. Acme Qualit.% Xo-Lustre Finish No. 74. Pearl Gray; Woodwork and Beams. 

Acme Quality Oil Wood Stain, Walnut 



— 










1= 



Ceiling. Acme Quality Kalsomine No. 81; Walls. Acme Quality No-Lustre Finish No. 66. Silver Gray; Trim, Acme 

Quality Oil Wood Stain. Walnut 



35 




me Qualitx Shifiilc- v N Silvci Gr*y \\ Jii .. < e Quail N I m .. II ' A l»ii. 



36 



A HOUSE IN THE STYLE OF THE FRENCH SUBURBAN VILLA 



THOMAS HARLAN ELLETT, ARCHITECT 

Among the several architects in New York who thoroughly under- 
stand the adaptation of French suburban and country architecture 
for use in American houses, no one is more talented or successful 
than Mr. Ellett. His training has well fitted him to appreciate and 
understand the several phases of French and English domestic archi- 
tecture. Graduating from the Architectural School of the University 
of Pennsylvania, Mr, Ellett continued his studies in Paris and at 
the American Academy in Rome. The several years thus spent were 
followed by extensive travel in England and Europe. Returning to 
this country, his early office training ivas secured with the firm of 
Mc Kim, Mead & White. Thirteen years ago Mr. Ellett opened his 
office for the practice of architecture, which was interrupted shortly 
after by two years of service as an officer with the A. E. F. in France. 
At the close of the World \\ ar Mr, Ellett resumed practice in New 
York, where he has become well known as a designer of large country 
houses, receiving in igi8 the Architectural League Medal for 
Domestic Architecture . He was also selected by the United States 
Government to design the American Memorial Military Chapel for 

the St. Alihiel Cemetery at Thiaucourt, France. 



M 



R. ELLETT'S work is noted for its 



individuality, charm and picturesque 
quality. Even in his more formal houses, such 
as this delightful Long Island villa shown on 
the opposite page, there is a certain artistic 
quality which combines well with the archi- 
tectural dignity found in the French Renais- 
sance. This long, low house with its sunny, 
open forecourt, balanced by a covered pavilion 
on either side, has an unusual amount of 
hospitable and domestic charm. This 
attractive Long Island villa is as inter- 
esting in plan as it is in elevation. A large 
entrance hall and library occupy the center of 
the house with a spacious living room on one 
side opening onto the entrance court and also 
upon the garden terrace and the pavilion. On 
the opposite side is a stair hall and large dining 



room. The latter also opens onto the garden 
terrace and the other small pavilion, which in 
this case is used as a breakfast room. Beyond 
the dining room is located the service depart- 
ment, containing pan try, kitchen, servants' hall 
and bedroom. On the second floor there are 
five master bedrooms and baths, and closets. 
As Mr. Ellett built this house for a well 
known interior decorator who designed all of 
the interior decorations, the house is unusuall v 
interesting and attractive. Combinations of 
harmonious and delightful colors give indi- 
vldualitv and charm to each room. French 
architectural details as well as decorations 
have been used throughout, so there is a verv 
decided consistencv in the entire house, which 
quality is too often neglected and overlooked 
in the modern American countrv house. 




First Floor Plan 




Second Floor Plan 



37 




Celling, Acme Quality Kalsornine No. 51; Doors and Wall Paneling, Acme Quality No-Lustre Finish No. 77 r Deep Tan 



1 ■ 



i 



- 




Ceiling. Acme Quality Kalsornine No. 53; Doors and Woodwork, and Plaster Walls, Acme Quality No-Lustre Finish No. 74 

Pearl Gray; Landscape Decorations. Acme Quality No-Lustre Finish No. 66, Silver Gray. 



38 



— * 



sm 







Ceiling, Acme Quality Kalsominc Nu. 77; Walls and Woodwurlc, Acme Quality No-Lustre Finish No. 53, Light Yellow 




; 



Ceiling, Acme Quality Kalsominc. While; Walls ami Trim. Acme Quality Nt.-Lustrc Finish, White 



39 



















. Acme Qtulitj Skin Stain. I I Gl A. .lis and Trim, Acme Quality New ESff* House Paint. Outside: Whit 

lilimK. A. iik Quality Uuraljle < ., Medina 

40 



FARMHOUSE STYLE 



ROBERT O. DERRICK, ARCHITECT 

One of the leading and best known American architects of country 
residences is Robert 0. Derrick of Detroit. After graduating from 

Yale University and the Architectural School of Columbia Univers- 
ity, he traveled and studied in England and France. Three years of 
service in the World War delayed his start as a practicing architect. 
After practical experience in one of the large architectural offices of 

New York, Mr. Derrick became a partner in the architectural firm 
of Brown & Preston, in Detroit. On the retirement of these two 
architects a few years later, the firm of Robert 0. Derrick, Inc., was 
formed, and for the past five years has been recognized as one of the 
leading architectural firms in Detroit. Many of the most important 
residences and clubs erected in and around Detroit during the past 

five years have been designed by Air. Derrick. 



TN this unusually attractive example of his 

A work all of the distinguishing character- 
istics of the Connecticut farmhouse style have 
been successfully incorporated. The house is 
entered through a small hall with a battened 
front door and heavily balustraded stairway. 
The walls are painted yellow and woodwork 
green. The large living room is a successful 

modern example of early American architecture. 
The ceiling is made of rough hewn timbers 
with wide planks above. The treatment of the 
chimney-piece, as well, perfectly carries out the 
farmhouse style. Hooked rugs in bright tones 
give color warmth and blend harmoniously 
with old rose painted walls. The dining room 
with its old fashioned kitchen fireplace and 
side oven partly walled with heavy oak boards, 
a beam and plank ceiling, earl v American furni- 



ture in pine and oak and quaint hooked rugs 
on the floor, reproduces perfectly an old New 
England kitchen. Heretheyellowpainted plas- 
ter walls and peacock green rugs add gaiety to 
what might otherwise be a rather somber room. 
The bedrooms are very interesting; with their 
painted plank walls and ceilings and wide oak 
boarded floors. In spite of the rough crudeness 
of the interior finish and detail, there is no bleak, 
bare severity in the atmosphere of this country 
house. Well chosen and harmonious colors 
dominate the interior decorations of every 
room. It must be a constant ;oy to live in a 
house which so radiates warmth of color. 
In the hands of one who understands the value 
of color as well as consistency in style, it is 
remarkable what masterpieces may be 
achieved in the art of interior architecture. 




First Floor Plan 






41 




Bed 



■ 









90 



-li^-r ■- 



Second Flour Han 



1 







Ceiling. Beams and Boards. Doors and Trim, Acme Quality No-Lustre Finish No. 74, Pear] Gray; Wall Boards, Acme Quality 

No-Lust re Finish No- oh Ligrht Buff; Plaster Walls, Acme Quality No-Lustre Finish No. 53, Light Yellow 




Hint:. Acme Quality Kalsomme No. 77; Walls. Acme Quality No-Lustre FioisJi, Firs! Coat, No. 67, Light Tan. Second Coat. 
No. 53. Light Yellow Scumbled; Doors anJ Trim. Acme Quality No-Lustre Finish No. 70. Light Green 

42 




Doors, Trim, Paneling, Woodwork and Ceiling Beams, Acme Quality No-Lustre Finish No. 74, Pearl Gray; Ceiling, Acme 
Quality No-Lustre Finish No. 66, Silver Gray; Plaster Walls, Acme Quality No-Lustre Finish No. 60, Old Hose 




Ceiling and Wall Boards, Acme Quality No- Lustre Finish No. 70, Green 



43 













Roof, Acme Quality Shingle Stain. Silver Gray; Walls, Acme Quality New Era House Paint, Outside While; Doors and Blinds, 

Acme Quality Durable Green, Medium 

4-f 



k I 



A COUNTRY HOUSE IN THE COLONIAL STYLE 



RUSSELL S. WALCOTT, ARCHITECT 

Throughout the middle west and particularly in Chica Mr, 
Walcott is recognized as one of the foremost country house archiU \ 
After graduating from Princeton University, where he spec lized in 
Architecture, Mr. Walcott studied abroad. Lpon returning he 
worked for tiro years in the office of the late Howard Shaw and then 
for two years more in the office of David Adler, both prominent 
architects in Chicago. After a year in France with the A.E F . which 
interrupted Mr. Walcott's architectural careei he returned t 
Chicago, and in 1022 formed the firm of Clark and Walcott, which 
has recently been dissolved, and f allotted by a partnership with 
Robert Work. The work of this successful young archil is charac- 
terized by originality in design, freedom in the use of precedent and 
an ability to plan comfortable, convenient and architectural^ 

attractive houses. 




T is not necessary to go to Long Island, 

Westchester Count) or Newport to find 

outstanding examples of modern country 
houses. The suburbs of Chicago oiler some of 
the finest examples. In this unusually attrac- 
live example of Mr. Walcott's work here pre- 
sented, are found many ol the characteristic 
which distinguish the New England farm- 
houses, such as the predominance of the main 

house in contrast to its story and a half wings, 
the carefully scaled and wcll-sp.u<d windows* 

the delightful details ol the entrance door and 

the well-studied, interesting plan. The prin- 

i ipal rooms of the first floor are Ick a ted in the 
center and left wing. Here a long entrance hall 

with Circular staircase at one c\u\ COnnei ts a 
living room and dining room. In all these 

rooms color plays a prominent part. The deep 

Id gold ol the painted walls and the ivor 
toric ol the w idwork give a warmth of color 
to this Colonial hall. The lar. scjuare dinin 
room with its simple Colonial furniture ha 

ivory painted woodwork and walls decorated 




in dull terra COtta and green a-ainst a yellow 

background. A green rug repeats the green in 
the walls. The living room is paneled from 

floor to ceiling in wood painted in tones ol 

buff, characteristic ot some of the Kol\ 
American interiors. Bright* toned linens and 

flower-filled windows on either side of the lire- 
place give a gay and cheerful atmosphere t" 

this living room. The library, f ited four 
steps below the level «»l the main floor, occu- 
pies the lelt wing, line hook shelves in 
painted wood extend from floor to ceilu The 
warm tones ol the woodwork, the hook ba< I. 
and the rug make this a delightful to«»m for 

restlnl reading ind quiet seclusion. The ser- 
vice roou -I the house are located in the right 

wing on both the lirst a]\l\ sc< ml floors. In 

the seven master's bedrooms on the second 
floor varied combinations of color have mad< 
them attracts and livable. The accepted 
truth that nothing adds more to the joy of 

living than harmonious and cheerful lorS i 

spIemhdU exemplified in this country bou • . 




st Floor I'lan 



FU>r Plan 



45 




■iling. Acme Quality Kal .ine No. >1; Walls. Acme Quality No-Lustre Finish No, 53, Light Yellow; 

Woodwork. Acme Quality Duronamel, Ivory, Eh -hell Finish 




ling Acme QuaJit> Kalsomn.c No. >1. Woodwork. A. me Qualif No-Lustre FjnUh No. 72, 1 Jeep Tan 







Ceiling* Acme Quality KaUomine No. 51; Woodwork, Acme Quality Durunamel, Ivory, Eggshell Finish; 

Walls. Acme Quality No-Lustre Finish No. 72, Deep Tan 




Ceiling, Acme Quality Kalsomine No. 56; Paneled Woodwork. Acme Quality No-Lustre Finish No. Si . Light Tan 



A 




Walls of Wings, Trim and Window Sashes and Frame-. Acme Quality New Era House Paint, Outside White; 

Blinds, Acme Quality Durable Green. Medium 



48 



A SOUTHERN COUNTRY HOUSE IN THE COLONIAL STYLE 



AYMAR EMBURY, II, ARCHITECT 

Descended from French Huguenot and English stock, Mr. Embury's 
grandfather and great-great-grandfather were also New York archi- 
tects in the days ivhen architecture as a profession was hardly known 
in this country. After an early education in bothEnglish andGerman 
schools, Mr. Embury graduated from Princeton University where he 
received the degrees of A.B. and A.M . After five years of architectural 
training in the offices of several leading New York architects, he 
started his own professional practice. Although one of the widest 
known architects of country houses in the United States, Mr . Embury 
has been quite as successful in many other important types of build- 
ings , such as banks, churches, schools, college buildings, country clubs 

and apartment houses. 



WHEN he builds a Colonial house in New 
England it has all the severe, cold dig- 
nity and formality of the work of Bulfinch and 
Mclntyre. His understanding of scale and pro- 
portion, his handling of masses, his grasp of 
the art of planning and his knowledge of archi- 
tectural detail and its proper use are unsur- 
passed in his profession. Combined with his 
appreciation of detail is his love for color. In 
this Colonial house, Mr, Embury was not con- 
tent to cover the entire house with white 
painted stucco. To relieve the monotony of 
one color in so large a house, the center por- 
tion of the design, which is the main house is 
purposely built of brick of a warm golden red. 
The texture and color of the brickwork con- 
trasts delightfully with and sets off the smooth 
painted plaster walls of the end buildings. 
The fine interior of the house is even more 
emphatic in the use of strong but pleasant 
colors. The exquisite detail of the pilasters, 
frieze and cornice in the living room is greatly 
enhanced by the cool green with which it is 
painted. Hunting red is used for the curtains 
and the upholstery of some of the chairs, 
which relieves the coolness of the green painted 
walls. The wide board dark oak floor success- 
fully holds down the carefully studied color 
scheme of this room. The paneled walls of the 
library are particularly interesting in color, 





rF- 









painted in a striking shade of robin's egg blue. 
Deep old rose is used for the window hang- 
ings, and the chairs are upholstered some in 
a deep straw T color and others in mauve. In 
all of the color drawings of interiors shown in 
this book, it has in general been impossible 
to do anything more than suggest appropriate 
furnishings. The color scheme of the dining 
room is unusually distinctive and effective. 
Here the walls are painted apricot color with 
apple green hangings. A dark stained teak- 
wood floor covered with a rug deep in tones 
of mauve, gives the desired contrast with the 
light walls and ceiling. Interesting color com- 
binations are used in all of the bedrooms. The 
one shown here is particularly attractive with 
its cornflower blue walls, straw colored hang- 
ings for the bed and windows, and the deep 
old rose of the furniture coverings. No one 
who has visited the American wing of the 
Metropolitan Museum can fail to realize that 
our ancestors of the Colonial Period delighted 
in the use of strong and definite colors for 
their walls and woodwork. Architecture with- 
out color is cold and austere, so it is earnestly 
to be hoped that the attempt made in this 
book to show the possible consistent use of 
real color in interior architecture, may 
awake the people of this country to a better 
appreciation of the use of color in paint. 




First Floor Plan 



SeconJ Floor Plan 



49 




Ceiling, Acme Quality Kalsoinine No. 77; Walls and Trim, Acme Quality Xo-Lustre Finish No. 70. Light Green 

Reduced with White No- Lustre Finish 







Ceiling, Acme Quality Xalsominc No. 56; Walls, Acme Quality No-Lustre Finish No. 57. Blue Tint 



50 














i 




j 



Walls. Acme Quality Concrete Finish, Pink; Trim. Acme Quality New Era House Paint. Outside While; Shutters. Acme 

Quality Durable Green, Medium 



52 



A COUNTRY HOUSE IN THE ITALIAN STYLE 



HOWARD MAJOR, ARCHITECT 

Among the architects in New York Mr. Major has long occupied a 
prominent place, particularly in the field of domestic architecture. 
After many years* experience in several of the leading architectural 
offices in New York, Mr. Major entered upon his professional 
career. Possessed of unusually good taste and creative ability and 
appreciation of color, Mr. Major is preeminently endowed to design 
beautiful houses. This he has done over a period of many years, 
formerly in New York and later in Palm Beach, where he is now 
practicing. Extensive travels abroad have still further increased his 
understanding of what is best in European architecture for adapta- 
tion in American houses. Nearly all of Mr. Major s earlier houses 
were designed in the Colonial, Georgian and French styles, but since 
establishing his practice in Palm Beach he has built many attractive 
houses in the Italian and Spanish styles. He is also much interested 
in the West Indian phase of Colonial architecture found in Jamaica 

and Bermuda. 



THE house here shown is a marked exam- 
ple of Mr. Major's ability in adapting the 
Italian style to American domestic require- 
ments. The pink painted walls and bottle 
green shutters and red Spanish tile roof give 
a warmth and cheerfulness to this design 
characteristic of the sunny shores of the 
Mediterranean. The deep loggia with its 
arcaded walls provides a cool and tempting 
retreat from the heat of the sun. The walls of 
this loggia are painted in shades of cool blue 
which in the shadow takes on a violet hue. 
This loggia connects the large living room on 
the ground floor with the main part of the 




house, w r hich extends at right angles to it. 
Unlike the treatment of many Italian living 
rooms, the walls of which are finished in rough 
painted plaster, this room is paneled in pine in 
the more formal phase of Italian Renaissance. 
In Mr. Alajor's interior architecture, color 
counts tremendously and effectively. Many 
people criticize the Italian style of interior 
decoration as being formal, stiff and cold. 
Such criticism is unwarranted when bright 
and cheerful colors are used for the walls and 
hangings. Anyone who rejoices in the use of 
well chosen colors cannot fail to appreciate 
this well designed, delightful Italian villa. 




First Floor Plan 



Second Floor Plan 



53 



_ 







Ceiling Plaster. Acme Quality Kalsoininc No. 51; Ceiling Beams, Doors and Trim. Acme Quality Oil Wood Stain. Walnut; 

Walls, Acme Quality No-Lustre Finish No. 55, Light Yellow 



1 




■ ■ ■ 



Ceiling Plaster and Beams, Enamel Kote, Ivory; Acme Quality Walls, Acme Quality Enamel- Rote Robin's Egg Blue: Doors, 

Acme Quality Oil Wood Stain. Walnut 

54 






— * 



[f 



n 




Ceiling Plaster, Acme Quality No-Lustre Finish No. 56. Light Burt; Walls. Acme Quality No-Lustre Finish No. 64, Pink; 

Doors and Trim, Acme Quality Oil Wood Stain. Walnut 




Ceiling, Acme Quality Kalsomine No. 51; Wall Paneling and Trim, Acme Quality No- Lustre Finish, One Thin Cuat White; 

Doors, Acme Quality Oil Wood Stain Walnut 



00